Having been educated in Tehran and Antwerp, two cultural and artistic extremes, Najd’s painterly praxis shows a dialectic approach in both form and content. By leaving the traditional, conflict-laden and repressive context of the Middle East for western “freedom”, Najd is developing a highly individual language merging both worlds in a critical yet respectful discourse. Najd combines her own experience of reality with the observation of “reality” through media, researching the anecdotal strength of the image and its supposed message, while juxtaposing with it the idea of painting exemplifying freedom of thought. As such, Najd’s figurative-abstract paintings are as subtle, erotic, mental and atmospheric as they are confrontational, harsh and humorous.
Najd, who was born in Tehran in 1965, now lives and works in Antwerp. She received her master’s in painting from the University of Fine Arts in Tehran in 1991. She moved in 1992 to pursue her master’s in fine arts at the Royal Academy of Fine Arts in Antwerp. She completed a residency in 2010 at the International Studio and Curatorial Program in New York, and a further residency in 2011-12 at Künstlerhaus Bethanien in Berlin.
Najd has been featured in solo and group exhibitions in museums and galleries, including: 2024:“Passio/IL Camino” 5th edition biënnale of Kortrijk- Belgium, 2023: “Zan,Zendeghi, Azadi” (Women, life, freedom) Pedrami gallery, Antwerp-Belgium, 2022: “The Circus We Are” Le Delta, musée Félicien Rops, Musée des Arts Anciens, Belgian Gallery, Namur- Belgium, 2021: Monoculture- A recent History- Museum of Contemporary Art, Antwerp-Belgium, 2020: The Clown Spirit- De Rossaert Gallery Antwerp & Ronny Van de Velde Gallery, Knokke-Zoute, Belgium, 2019: Botanic- National amalgamation project” Arthur M. Sackler Museum of Art and Archaeology, Beijing- China, Lost in Translation- De Warande, Turnhout- Belgium, 2018: Intersection- International Art & Culture, 25th anniversary of Arthur M. Sackler Museum, Beijing- China, Middle Gate II- collaboration between MUHKA (Museum of Contemporary Art Antwerp) and CC de Werft, 2017: Beijing International Art Biennale, National Art Museum of China, Beijing, 2017: TRANSIT, Parcours Humain/Atelier Mondial, Basel, Switzerland, 2017: Celibataire Divas, Virga Jessefeesten, Hasselt, Belgium, 2017; Eight Volume of Fantasy, Groeningemuseum, Bruges, Belgium, 2016; De Stad als Performance, Brugge Triennale, Belgium, 2015; Non Existence Flag Project, Künstlerhaus Bethanien, Berlin, 2012; The End of History ... and the Return of History Painting, Domus Artium (DA2), Salamanca, Spain, 2011; Non Existence Flag Project, ISCP, New York, 2010; Mars op Oostende, Mu.ZEE, Ostend, Belgium, 2010; Fading, Museum of Elsene, Brussels, 2009; The Choice of Jan Fabre, Indian Caps, Antwerp, 2009; The Aerials of Sublime Transcape, Lokaal 01, Breda, the Netherlands, 2008; Gorge (l), Museum Voor Schone Kunst, Antwerp, Belgium, 2006; (my private) HEROES, Museum Marta Herford, Germany, 2005; Metamorphosis II, Musei Civici di San Gimignano, Italy, 2005; An empty place to stay, Summer of Poetry and Art Watou, Belgium, 2001.
Her work is in private and public collections, including: Arthur M. Sackler Museum, museum of Art and Archeology, Beijing- China: the Museum of Contemporary Art in Antwerp (M HKA), Belgium; Mu.ZEE, museum of contemporary art, Ostend, Belgium; Ministry of Foreign Affairs, Belgian mission in the UN, US; Troubleyn/Laboratorium Jan Fabre, Antwerp; Kunstcollectie Provincie Antwerpen, Belgium and the Collection of the Flemish Community, Belgium.
www.maryamnajd.com